Alumni

It’s a festival born out of love for the local community and the arts.

In the Soil, the three-day, multi-layered and multi-disciplinary festival in St. Catharines, is celebrating its 10th anniversary this weekend, and Brock has played an important role in its growth.

The festival started as an idea sparked at a Centre for the Arts performance in Sean O’Sullivan Theatre, where Annie Wilson (BA’03), Joe Lapinski (BA’99) and Sara Palmieri (BA ’03) wondered how they help showcase Niagara talent. Three more former Brock students came on board to found the festival in 2009: Deanna Jones (BA ’02), Natasha Pedros (BA ’04) and Jordy Yack.

They wanted to bring people together with local artists to create a shared experience and celebrate Niagara’s arts scene.

Brock’s support of In the Soil has been important from the start, says Wilson, who studied Theatre and English.

“To have the Marilyn I. Walker School of Fine and Performing Arts right in the downtown core is a dream come true and so is the opportunity to collaborate with so many incredible profs and friends over there,” says Wilson. “Brock University has supported In the Soil Arts Festival from day one and the ongoing investment in us has allowed us to grow it into what it is today.”

Suitcase in Point Theatre Company, a theatre group founded by graduates from Brock’s Dramatic Arts program, took over organizing the festival in 2012. The group worked to sharpen the festival’s interdisciplinary approach and now has a tradition of showcasing the latest work in theatre, literature, music, film, comedy and site-specific installations.

Many Brock students, staff, faculty, and grads are exhibiting and performing at this year’s festival in various venues around the downtown core, including:

Adrian Thiessen (BA ’10), president and creative head of Fourgrounds Media, will be showing his piece “Please Do Not Disturb the Grapes,” which gives a bird’s perspective of Niagara wine country as part of Rhizomes at Silver Spire United Church.

We Who Know Nothing, a theatre group centred in the Department of Dramatic Arts and led by Associate Professor Gillian Raby, will be performing a short piece on colonialism and First Nations histories.

Also at Rhizomes, Twitches & Itches Theatre, an ensemble made up largely of Dramatic Arts graduates, will be presenting emerging theatre voices in “The Comments Section,” a collaboration between young artists.

Arnie McBay (MA ’13), Visual Arts Facilities Technician at MIWSFPA, and English Professor Gregory Betts will be showing “Signs of Our Discontent” (The Textures of Our Solitude). The site-specific installation at the corner of St. Paul and Garden Park responds to the fading advertisements painted on downtown buildings.

Fourth-year Visual Arts student Amber Lee Williams video performance “Self Portrait As A Female Fountain” explores themes of identity and is an extension of her exhibition “Hidden Mother” on until Saturday, April 28 at the MIWSFPA.

Dramatic Arts student Matthew Beard is the founder of Big Chicken Improv, an improv group that includes various Brock students. They will be performing long- and short-form improv on Saturday evening.

Prior to the festival, the Marilyn I. Walker School of Fine and Performing Arts will be hosting a special event on the evening of April 27 for students from Stamford Collegiate.
The MIWSFPA is also a festival sponsor.

Brock alumna and puppeteer Sarah Argue will be giving a talk about her business at the Marilyn I. Walker School of Fine and Performing Arts on Friday, Sept. 15, before being honoured at the Alumni Recognition Reception on Saturday, Sept. 16 as part of Homecoming weekend.

With a little felt and a lot of talent, Sarah Argue (BA ’06) has created a career for herself in the world of puppetry.

Through her business, Rock the Arts, the Brock dramatic arts alumna has been touring across Canada with her crew of unique characters sharing shows about compassion, enjoying the little things in life and the power of choice.

She will return to her alma mater Friday, Sept. 15 to share insight into her professional puppet company. The presentation will take place at 1 p.m. in Studio A of the Marilyn I. Walker School of Fine and Performing Arts. All members of the Brock community are invited to attend.

Argue is in town to receive the Faculty of Humanities Distinguished Graduate Award, to be presented on Saturday, Sept. 16 during the Alumni Recognition Reception held as part of Brock’s Homecoming weekend.

It has been seven years since Argue launched her successful business after quitting what she described as a “normal job” — working as a program co-ordinator for the City of Ottawa — to pursue her passion.

She taught herself how to make the felt creations and began taking her show on the road.

Argue now has a roster of 80 puppets that she uses to perform shows in schools, libraries and theatres. She has also produced a children’s CD and currently has multiple projects on the go, including a film, children’s book and book to support other artists wanting to build their own careers.

Argue credits the diverse theatre experience she received at Brock — where she performed in The Crucible and directed a Norm Foster play, among other productions — for preparing her for the stage.

“I didn’t realize at the time what a gift it was,” Argue said of her Brock degree. “I didn’t realize what a well-balanced degree I was getting in theatre.”

Her time as an undergrad had her touch on lighting, acting, directing and costuming — all beneficial to her career. That experience gave her the confidence to walk into any theatre and comfortably speak to the techs in charge about how her show is set up.

Argue’s love for creating puppets is matched only by the experience of giving them a voice and watching them evolve into life-like characters.

Turning her passion into a business hasn’t always been easy, but Argue has relied on the support of other artists. Puppeteer Noreen Young, from Under the Umbrella Tree, has been a mentor to Argue, helping her learn how to pitch to networks and encouraging her to keep going when times get tough.

Workshops with puppeteer Trish Leeper of Muppets fame have introduced Argue to the idea of puppetry on camera, guiding her toward more film work, including the #IHopeFor awareness campaign for childhood cancer.

“You need a lot of support from other artists to keep going,” Argue said, while expressing her desire to pay that sentiment forward.

Carol Merriam, Dean of the Faculty of Humanities, said the Faculty is pleased to recognize Argue with the Distinguished Graduate award.

“The skills that she learned in her studies in dramatic arts and the creativity, enthusiasm and drive that were fostered at Brock have led her to create her own niche,” she said. “Hers is the kind of success we hope and expect from graduates of Brock.”

See below for information about the dedication of the theatre in Burlington.

A woman who dedicated her life to teaching drama to students of all ages is being remembered by her colleagues, family and friends.

Helen Zdriluk, who had been an instructor at Brock University for two decades, died Wednesday after a brief illness.

“She was extremely dedicated to the power of drama in both teaching and performance,” said Professor Joe Norris, Chair of the Department of Dramatic Arts. “She lived and breathed drama 24-7 when you consider she taught high school for many years during the day and then came here and taught at least two evenings a week. And she was running an after-school program.”

Dramatic Arts Associate Professor and Marilyn I. Walker School of Fine and Performing Arts Director David Vivian said the whole school is saddened by the loss.

“Longtime colleagues will remember Helen for her joyous and industrious leadership in Drama in Education and Applied Theatre, including her Connections projects in the old Studio theatre.”

Norris said DART Connections was a group of education students who rehearsed and performed plays that dealt with social justice and education issues.

Zdriluk taught drama at Burlington Central High School and was the owner and artistic director of Centre Stage Theatre School and Productions. In addition to teaching at Brock, she also completed her master’s at the University in 2010.

“The drama in education community has lost one of the most talented, dynamic and authentic educators and practitioners we have ever seen,” said former student Rox Chwaluk. “Helen was my mentor, my friend and colleague. She was fierce, hardworking, witty and passionate about her craft. She was instrumental in my education, provided me opportunities to ignite my passions, and solidified many of my values.”

Zdriluk is survived by her husband Gerald and children Jennifer and Beth.

A visitation will be held at Smith’s Funeral Home on Brant St. in Burlington Monday, May 1 from 3 to 5 p.m. and from 7 to 9 p.m. A funeral service will be held Tuesday, May 2 at 10:30 a.m. Those wishing to make a donation in Helen’s memory are asked to consider the Canadian Cancer Society.

We are sharing our memories below. If you have any memories you’d like to contribute, please share with us.

Remembering Helen Zdriluk

Reflections from Former Brock Students

“I’ve heard it said
That people come into our lives for a reason
Bringing something we must learn
And we are led
To those who help us most to grow
If we let them
And we help them in return
Well, I don’t know if I believe that’s true
But I know I’m who I am today
Because I knew you…
Who can say if I’ve been changed for the better?
But because I knew you
I have been changed for good.” — For Good, Wicked

Most of us met Helen Zdriluk in a classroom at Brock University, maybe ST103, ST105 (affectionately called blue and black – as per the paint colour of the room). Maybe it was ST107 – that hallway with one random non-DART classroom. Once we met Helen — our former instructor, mentor, colleague and friend — we were forever changed. For good.

Maybe it was by the smile emerging on her face at the end of a particularly interesting question she had just posed to us, that she knew we would need to think hard about before answering. Or the simple, embedded image of her with her hands in her pockets, looking with calculation at our set because we remember that meant we knew she was going to suggest changes we would find annoying (wouldn’t it just be easier if we kept it the same?). And she wouldn’t exactly spare our feelings while delivering the news.

“This needs work,” she would say in her blunt tone.

Of course, we also remember, she always ended up being right about them and her directness was only because she cared so much about making us as good as we could be — and that we were infinitely glad we listened to her.

Maybe it was how when you first met Helen, you could feel like you wanted to drop her class because it was too tough. But then she taught you to check your ego at the door and get past your insecurities, and then you realized you wanted to take all of Helen’s classes, because you wanted to learn — and learn from the best.

That was Helen.

Maybe it was when, for all of Helen’s demands on you to be the best student you could be, you suddenly realized that she had even higher ideals.

That if your mother was suddenly rushed to the hospital and the rest of your family wasn’t nearby, and you were worried about missing a dress rehearsal for a major project because Helen had taught you not to let the group down — and you hated the idea of letting Helen down, the blunt directions would suddenly disappear.

Instead you’d feel the comfort of her hug that would help ease your tears, as she told you to go home and take care of your family.

“In that moment, I remember feeling this overwhelming peace come over me,” said Karen McDonald, who still remembers the impact of that hug years later. “I needed that hug, but I didn’t realize it until I got it.

“That’s who Helen was. She always knew exactly what her students needed even before we did.”

Helen taught many of us for 3-5 hour-long classes, once a week, usually on a Thursday. We’d learn as the weeks passed by that Helen was determined, passionate, driven, hardworking, creative, supportive, a force, patient, witty, caring, and saucy (in the best way possible).

We would hear from fellow classmates about the amazing courses she was teaching: Community Theatre (3P07 or 3F77), Children’s Theatre (3P06 or 3F66/3F92), Musical Theatre (3F98), and Production (DART 2P70). These are course codes that we can still remember because they are not numbers to us, but experiences that have shaped us into who we are.

Some of us had to beg the administration to be in Helen’s classes because they were so popular, and Helen had to request to have more students in her classes. Helen always advocated for us — for our work, for our marks, and for ourselves. Helen saw the potential in all of her students and helped them to see the potential in themselves.

Her classroom was a place of magic. A place where we would take off our shoes, literally, but also a place where we could ground ourselves, tell stories, and make meaning of our world. Helen believed that theatre was an integral part of every community, and that it was the best way to tell the hardest stories. Stories that no one wanted to hear because they made you uncomfortable, but Helen believed that the best work came from being uncomfortable.

Helen legitimized what many of us felt — she showed us that “drama” wasn’t just Shakespeare or watching people perform; it could be a tool to teach; a vehicle to work with and within communities; a transformative power for actors and audiences.

She always asked us “What’s the point?” Helen instilled a sense of purpose that allowed us to balance the process of a production and the result. While she had high standards for the final product — “I’m not putting (garbage) on stage. I would rather cancel the show than put (garbage) on stage” — she had the same low tolerance for people who thought their talent or hard work gave them license to be difficult during the process.

She was unbelievably smart, passionate and dedicated not only to Dramatic Arts but to sharing that passion through education in the most meaningful ways possible. She wanted to make the world a better place and she wanted to do that through drama — using it as a tool to help people express themselves in the comfort of a character but that allowed them to share their thoughts, fears and insecurities.

She was fierce, she was sassy, and above all she was passionate about ensuring that the arts continued to be developed and encouraged in the school system and she would put no limitations on pursuing that goal.

But there was more to Helen than the classroom. Helen was always so busy, always doing something. She barely had time for herself. In between classes, on her break, you would usually see her having a Diet Coke and an egg salad sandwich (which usually one of us picked up for her, as she was too busy supporting students). As a part-time instructor, Helen was also involved in many co-curricular activities, including Brock Connections, a club on campus that focused on using theatre as a tool for education about various social issues.

As our faculty advisor, she produced and directed The Laramie Project (2007-2008), Twilight: Los Angeles 1992 (2008-2009), Bhopal (2009-2010), Shatter (2010-2011), and Colours in the Storm (2011-2012). We learned about social, and historical issues and were able to take these shows into the Niagara community.

Helen was our rock. Many of us owe pretty much everything that we have done, and who we have become to Helen. For aspiring teachers, she was the type of teacher that we wanted to be. She had a way of identifying our most triumphant strengths and limiting weaknesses with grace and compassion. She was able to genuinely inspire growth in us because of her keen awareness of them.

She always knew exactly what her students needed, often even before we did. She supported us in our low points, and celebrated with us in our highs. If she thought you could do better work, she let you know, she challenged you.

But even when she was dishing out tough love, she followed it up with a smile, and a healthy dose of encouragement. She took the time to get to know each of us personally, to understand our goals, and then to find or create a way to connect us to the community so that we could achieve them.

Helen never doubted us for a second. She was quick to give us advice, but we think the most important advice she gave us was that we were fully capable and that she knew we had the skills to put on a great show. We felt her acceptance for all of us as individuals, especially for all of our unique talents and experiences. That was one of the most beautiful things about Helen, her ability to see beyond a student’s cover and see what they could be.

She pushed and she challenged, she called you out when you needed it and she made you a better team member because of it. The belief and trust she had in us when we doubted ourselves is one of the most important lessons we learned from her, and every day we try to put that same belief and trust into those around us.

Most of us think about Helen often in our daily lives. Many of us have gone on to teaching careers. We thank Helen for the opportunities we were given in our program. Many of the skills and teaching methods we use were learned directly through her.

The Drama in Education Community has lost one of the most talented, dynamic, and authentic educators and practitioners we have ever seen. There is a sense of sadness to know that so many future educators will not have the opportunity to learn through Helen, but there is some comfort in knowing her methods and teachings will be passed on to the next generation through all of us.

She built herself an army of her endearing students to go out into the world and provide arts education by any means necessary, and that is the legacy that she leaves behind her.

But as they say, the show must go on. And Helen is sitting front row, smiling.

“She was a force, and how could a force like that be stopped? The answer is that it can’t,” Rebecca Durance Hine said. “What she accomplished in her life, the lives she touched, the people she changed, all of that will continue in her place. She will never, ever be forgotten, and the effects of her life will continue to be seen for a very long time.

“You are wonderful Helen, simply wonderful, and I hope that you rest in peace knowing the difference your life made in the lives of so many.”

“The greatness of a teacher can be measured not by what someone can achieve, but by what they thought they couldn’t achieve.” — Helen Zdriluk

Notice of the dedication of a theatre in honour of our departed Department of Dramatic Arts colleague, Helen Zdriluk:

Burlington, Thursday October 05, 2017

Dear Friends, Colleagues, Alumni and Family
It has now been several months since the passing of Helen Zdriluk, an educational icon whose loss continues to weigh heavily on all of our hearts. However, due in no small part to her unparalleled commitment to Burlington Central and the Arts, I am happy to say that Helen’s memory and influence continues to reverberate in our great building, helping to inspire future
generations of students at BCHS.

Now you may already be aware that over the last few months many groups have rallied to pay tribute to Helen’s legacy in a variety of ways , including the creation of the Helen Zdriluk Memorial Fund for the Performing Arts, which will be
administered by the Burlington Community Foundation.

Well through some of those discussions another idea began to take root and with the support and blessing of Helen’s
Family, we at Central could think of no tribute more fitting than the renaming of the auditorium to the Helen Zdriluk Memorial Theatre.

With that process now complete we would like to cordially invite you to share in the honour of officially dedicating the theatre in Helen’s name (details below).

Set against the backdrop of violent tribal conflicts, this re-imagined, gritty production of Macbeth features epic sword fights and modern stage technology. As hero becomes tyrant, Shakespeare’s masterful commentary on the corrupting nature of power poses the timeless and dangerous question:

ARTS AND CULTURE: CAREER CONVERSATIONS

DART alumna Victoria Mountain will feature at the SHIFT Professional Development Conference for graduate students alongside VISA alumna Shauna Daley with their session, “ARTS AND CULTURE: CAREER CONVERSATIONS”. From the conference website: “A modern cultural worker can thrive in variety of careers in education, media and the arts. The reach and satisfaction of creative practice can be the cusp of personal freedom and a condition for seeking satisfying work. How do we negotiate and harness creative energies within professions that embrace those creative forces? Join our conversation!”

Victoria is a writer, performer, researcher and cultural manager residing in Toronto, Ontario. In addition to her Honours Bachelor of Arts in Theatre from Brock University, she also holds a Master of Arts in Drama from the University of Toronto, and an Erasmus Mundus Master of International Performance Research from the Universities of Warwick, United Kingdom and Helsinki, Finland. Victoria currently works for the City of Brampton as the Manager of Culture with the Economic Development and Culture Division, leading the City through its first cultural master planning process.

MEDIA RELEASE
David Fancy, a faculty member of the Department of Dramatic Arts at the Marilyn I. Walker School of Fine and Performing Arts, is no stranger to new ventures.

A veteran creator of new theatre productions that explore current events and engage the Niagara Region, he joined forces with former Cirque du Soleil performers Kosta Zakharenko and Christine Cadeau in 2010 to form Zacada Entertainment.

“We wanted to combine theatre and circus in new ways,” says Fancy, who’s equally comfortable in the classroom as in the rehearsal studio. “The fusion of genres really permits some unique opportunities for dynamic forms of contemporary expression,” he notes.

Shotgun Wedding features the story of two star-crossed lovers forced to get married by their deeply religious parents. On their way to Niagara Falls for the ceremony they each secretly decide to have one last fling with the person of their dreams.

“The production deals with perennial concerns of love and relationships,” says Fancy, “but also shines a humorous and probing light on issues pertaining to Niagara, including migrant labour, tourism, and gambling.”

Zacada is particularly happy to be working with three recent graduates of Brock University’s Department of Dramatic Arts (DART) who will be taking up the acting and singing roles in Shotgun Wedding.

Mitchell Allanson, Marley Kajan, and Sean Rintoul have all finished their Honours Dramatic Arts degrees over the past three years, and have gone on to further training and professional creative opportunities around the Greater Toronto and Hamilton Area (GTHA).

Kajan, a native of Welland, is pleased to be joining the company. “All three of us DART grads are super-happy to have been brought aboard to help bring this show to life,” she says.

“These kinds of opportunities for intensive professionalization are gold,” says Rintoul, a 2- year veteran of other Zacada productions.

Marly Kajan, DART Graduate

Recent Zacada show Fancy has written and directed that have toured Ontario include Circus Revolution, a story about Marxist clowns who escape a gulag by means of their circus prowess, and Circus Labyrinth, a piece that explores creative responses to contemporary forms of social control.

For its part, Shotgun Wedding features original Niagara-themed musical theatre numbers with support from a seven-piece band, as well as high-octane performances from over 10 cirque artists from Zacada Entertainment’s extensive pool of talent.Silks artists, contortionists, acrobats, and a host of other highly skilled cirque performances each grace the stage for every performance of Shotgun Wedding.

The production team for Shotgun Wedding is currently in high gear with rehearsals and development for the June 9th opening. The show will be performed sixty times over the course of the summer.

“We’re deeply excited about this new show,” says Vittoria Wikston, General Manager of the Greg Frewin Theatre, “Especially with how it offers national level talent and serves as a unique reflection of the many strengths and talents of our region.”

“We couldn’t be happier about having this exciting new addition to our roster of shows,” says master magician and theatre owner, Greg Frewin.

The worlds of ancient Athens and modern Niagara have come together in a theatrical production led in part by Brock alumni.

The Bacchae, a modern adaptation of a play originally performed in 405 BCE, is hitting the stage at FirstOntario Performing Arts Centre from Jan. 19 to 21.

The Twitches & Itches Theatre production challenges ideas of identity and explores what happens when extreme left- and right-wing politics collide.

When the ensemble began working on the play in February 2015, they had no idea how timely it would be when presented on the eve of the presidential inauguration of 2017.

“We had no idea Brexit and Donald Trump’s rise to power were just around the corner,” said director Colin Bruce Anthes (BA ’14, MA ’16).

“The play was miles ahead of us. Many of the play’s original themes are shockingly reflected in our present society.”

The play engages with current social issues, as Dionysus, an androgynous foreigner, arrives in St. Cadmus and starts changing the entrenched norms. The conservative rule of King Pentheus is challenged by this new god of wine, theatre and ritual madness and the women who abandon the city core to follow him.

“Some of the dialogue looks like headlines stolen from today’s newspapers,” Anthes said.

“In our production, the priest of a new religion arrives as a David Bowie-esque glam-rock star, bursting through a city’s eternalized film-noir surface.”

Issues of identity are central to this play, as xenophobia, transphobia and intolerance of different body types are all challenged.

Brock student Iain Lidstone found playing the role of Dionysus both rewarding and exhausting.

“I am a trans man playing a gender-fluid character,” he said.

“On the one hand, I find utter relief and excitement that as a queer artist I get the opportunity to give a voice to queer identities on the stage.”

A troupe of Brock University students is putting their dramatic arts talents to work this summer.

Tottering Biped Theatre’s production of Shakespeare’s “A Midsummer Night’s Dream” – on now at the Royal Botanical Gardens in Hamilton – features a number of familiar Brock faces.

The production, held at the newly opened David Braley and Nancy Gordon Rock Garden, has been three years in the making. Director and Brock drama instructor Todd Copp says his goal is to offer local opportunities to recent theatre grads.

“We’ve noticed the difficulty emerging artists have here in getting off the ground and we lose artistic talent to Toronto and further cities every year as a result,” he says on the production’s Facebook page. “In casting this piece, we searched this area’s post secondary theatre programs for the most talented senior students/recent graduates – and offered them paid theatre work. It’s unprecedented in our area.”

The production links young actors with more experienced ones, teaching the next generation of actors that they don’t need to move away to pursue their passion.

A number of recent and current Brock drama students are involved on the stage and behind the scenes including Sean McClelland, Sean Rintoul, Caitlin Popek, Nicole James and Dana Morin.

Nicole James, who is pursuing her BA in dramatic arts with a concentration in production and design, is the production’s stage manager and embraces the challenge of managing a nine-person cast. She works with assistant stage manager and fellow Brock student, Dana Morin.

James credits Carolyn Mackenzie’s stage management course for giving her the skills she needs for the job.

“I have the privilege to work professionally in the theatre,” she says. “It’s so obvious that the instructors at the Marilyn I. Walker School of Fine and Performing Arts Dramatic Arts department actually care and are invested in the education of every single student.”

Copp was an instructor with Brock’s Dramatic Arts program in 2016 and is the artistic director of Burlington’s Tottering Biped Theatre. Founded in 2009, the company is inspired by social justice. They have toured regionally and internationally.

Flying trapeze artists, elephants standing on one foot while balancing a ball, jugglers, sword swallowers, bearded ladies: these are among the images of the traditional travelling circus.

The circus is still going strong today and has gone mainstream. Think Cirque du Soleil, the Montreal-based entertainment company that has become a worldwide phenomenon.

“This positive news for circus companies, artists and audiences with a taste for thrilling entertainment also raises questions about circuses’ historic status as site for the celebration and exploitation of differences, from stagings of exceptional performing bodies to the display of ‘freakery,’” says Assistant Professor of Dramatic Arts Karen Fricker.

Fricker is part of an international team of academics, artists and producers researching the relationship of contemporary circus to the widespread practice in traditional circus of featuring people with unusual physical features, such as Siamese twins, women who grow beards, and in extreme cases, people living with a disease or condition that exaggerates certain body parts.

The team is interested in the ways in which today’s circus artists relate to this “freak show” tradition. Fricker is one of three leaders of the project, called “Circus and its Others,” along with Charles Batson of Union College, in New York and L. Patrick Leroux of Concordia University.

This month, they are co-organizing a conference about this subject as part of the Montreal Complètement Cirque Festival, with the assistance of two Brock graduate students, Hayley Rose Malouin and Taylor Zajdlik.

“There’s a large history of profound racism, sexism and ableism that I don’t think is present in contemporary circus in the same way, mostly because contemporary ideologies are very transformed,” says Malouin. “However, it’s interesting to see how some of those elements of sideshow ‘freakishness’ and how we view those born bodies finds its way into contemporary circus.”

These acts are very physical; as a result, a lot of attention is focused on performers’ bodies. In traditional circuses, this focus extended to viewing bodies that were born unusual or made different from diseases or other factors beyond someone’s control.

But societies eventually became more aware of the struggles and rights of people living with physical challenges, and also increasingly became more sensitive to animal exploitation. For example, after 145 years of featuring elephants in its circus acts, Ringling Bros. and Barnum & Bailey announced that it has plans to retire its elephant herd by 2018.

The creation of Cirque du Soleil was a turning point in circus history. In the early 1980s, a troupe “juggled, danced, breathed fire and played music” for audiences in Baie-Saint-Paul near Quebec City, says the group’s website.

One of the performers, Guy Laliberté, took the show on the road in 1984 to celebrate the 450th anniversary of Jacques Cartier’s discovery of Canada.

“The show was a striking, dramatic mix of circus arts (without animals) and street performance that featured wild, outrageous costumes, magical lighting, and original music,” according to the website. Notably, one of the key features that distinguishes Cirque du Soleil from traditional circus is that it does not include animal acts, and rarely puts born difference on display in its shows.

“Are we gazing upon these spectacular bodies because they represent something that we nostalgically long for in what the freak once gave us?” says Zajdlik. “From aerial feats to contortions, these bodies are doing extraordinary things that you would not normally get to see. In a way, that kind-of represents what the ‘freak’ once represented for circus.”

The researchers note that there are circuses that feature unusual bodies, but in a very different way than in the past.

The keynote speaker at this month’s conference is Jennifer Miller, who founded Circus Amok in New York City and is also a professor at the Pratt Institute in Brooklyn.

Miller has had a beard since her early 20s. She is known as the “Bearded Lady,” who uses her performances to “ask people who look at her to think critically about what they understand as normatively female or male, masculine or feminine,” says Fricker.

“She challenges those boundaries,” says Fricker. “We’re in the age of gender fluidity. I think she speaks from, and to that, culture in an interesting way.”

The Circus and its Others conference was held in Montreal July 15 to 17, 2016.